Chime system using harmonically tuned chimes



Nov. 18, 1952 P. H. ROWE 2,618,190

' CHIME- SYSTEM USING HARMONICALLY TUNED CHIMES /WQ/'or Tana/ffy 4. C. Supp/y L QE l: N n @u E h u k INVENTOR.

P401. Rows,

P. H. Rows 2,618,190

CHIME. SYSTEM USING HARMONICALLY TUNED CHIMES Nov. 18, 1952 3 Sheets-Sheet 2 Filed Aug. '7, 1950 Lbmbkb kb@ Nk@ JNVENTOR. 10m/L E Rowe BY I M f/W .rrOQ/VEY.

Patented Nov. 18, 1952 CHIME SYSTEM USING HARMONICALLY TUNED CHIMES Paul H. Rowe, Los Angeles, Calif., assigner to Maas-Rowe Electromusic Corporation, Los Angeles, Calif., a. corporation of California Application August 7, 1950, Serial No. 178,110

(C1. Bft-.405)

8 Claims.

This invention relates to an electrically operated chime system.

Chimes having bell-like tones, and operated electrically, are now well' known and in common use. The chimes may be provided as a series of hollow resonant tubes, or as solid rods or bars. The tones resulting from striking such chime bars are quite similar to the tones produced by cast bells; and, often, for public performances in churches and auditoriums, such chime systems replace the bell systems.

It is well known that bells have individual and unpredictable vagaries and idiosyncrasies. Accordingly, when casting bells, it is difficult to produce bells -that have pure pitch tones; and manual tuning of the bells is required, as by appropriate removal of material from the bell. Highly skilled and experienced technicians are necessary for this tuning process.

All bells inherentlyr produce other tones besides the pitch tone, such as one or more subtones and one or more overtones. in most instances, such additional tones are inharmonious, and various Ways of correcting them have been proposed. Aside from the octaves of the pitch tone, the most pronounced additional tone is usually one that approximates a third, corresponding to an interval of about three or four semitones, producing either a minor or a major third with respect to the pitch tone. in some bells, this tone .l

is above the pitch tone; in others, it is lowered one octave, and considered a subtone. From a harmony standpoint, the octave position is immaterial.

It has been customary, when .setting up the cells in a carillon, to use bells that all have, as this partial, either a major or a minor third.

It is one of the objects of this invention to provide a carillon of chimes so arranged that chords can be played by striking two or more chimes, without resultant discords, by the simultaneous production of the proper overtones or subtones.

In a Diatonic scale of one or more octaves, the interval from a given note to the third above may be either a major or a minor third, depending upon the identity of the rst note. This is true because some of the notes of the scale are separated by two somit-ones, and others by one semitone. raking, for example, an octave corresponding to the scale of C, adjacent notes are separated by either` one or two semitones as indicated below:

CDEFGABC 2212221 2 A third interval between the following pairs of notes is a major third of four semitones:

C--E F--A G-B Correspondingly, a third interval between the following pairs of notes is a minor third of three semitones:

D-F E-G A--C B-D Should all the chimes have an overtone or a subtone corresponding to a major third with respect to the pitch tone, then, if a third be sounded, for example, by sounding both note D and note F, the harmonic inherent in note D .(a major third) would be one semitone out of tune with the sounded note F, and a discord would result. Similarly, sounding notes E and G simultaneously, or notes A and C simultaneously, would result in a similar semitone discrepancy.

Conversely, should all the chimes have an overtone or subtone corresponding to a minor third with respect to the pitch tone, then simultaneous sounding of notes C and E, or notes F and A, or notes G- and B, would result in the production of harmonics that are a semitone out of scale harmony conformance with the higher note.

It is easy enough to provide chimes for any one scale, such as C, to overcome this diiiiculty. Thus, the chimes corresponding to notes C, F, and G may be tuned to produce a major third harmonic (or an octave below this major third, which is harmonically the same) and the chimes corresponding to notes D, E, A, and B may be tuned to produce a minor third harmonic (or an octave below this minor third).

However, such an arrangement would obviously be improper for any scale other than the scale of C major.

It is another object of this invention to make it possible to use any scale, and yet to ensure that the third intervals or chords played in that scale will have no inharmonious effect with the third partial of any chime.

It is another object of this invention to provide duplicate chime bars or rods, respectively having major and minor third partials (or octaves below such partials), the choice of sounding being optional by the player to conform to the scale or other harmony requirements.

This invention possesses many other advantages, and has other objects which may be made more clearly apparent from a consideration or several embodiments of the invention. For this purpose, there are shown a few forms in the drawings accompanying and forming part of the present specification. These forms will now be described in detail, illustrating the general principles of the invention; but it is to be understood that this detailed description is not to be taken in a limiting sense, since the scope of the invention is best defined by the appended claims.

Referring to the drawings:

Figure 1 is a diagrammatic View oi one embodiment of the invention;

Fig. 2 is a diagrammatic view of another embodiment of the invention; and

Fig. 3 is a wiring diagram oi a further modification.

In Fig. l, a series of chime bars I are arranged .in scale order. Only a few are shown for the series, for the sake of simplicity, but, of course, a full series is intended. 'Ihe bars are of different lengths, so that the pitch tones correspond to a musical scale.

These chime bars may be tuned in accordance with the disclosure in prior applications led in the name of Paul H. Rowe, Serial Number 69,658 filed January 7, 1949, now United States Letters Patent Number 2,588,295 issued March 4, 1952, and application Serial Number 115,350, filed September 13, 1949.

As set forth most clearly in the above-identied applications, it is possible to bring a subtone cr overtone of the bar into substantially exact tonal concordance, as by determining the proportions 1 of the bend ends and grooves to the overall length of the bar.

Each of the bars I in the series is fashioned in such manneras to produce, with respect to the pitch tone, a tone corresponding to a major third interval. In bars of this character, it is usual to provide the third interval by a tone one octave below the tone that would correspond to the third interval. Musically, however, the etfect is the same.

Each of the bars I is provided with an electromagnetically operated striker 2 energized, for example, through a transformer 3, and individually controlled by the aid of the keyboard l5 operating the circuit controllers 5.

The keyboard, as shown, has thirteen white keys and nine black keys l, similar to a portion of afpiano keyboard. Depression of any one of the keys 3 or i causes the appropriate contact 5 to be completed for sounding any one oi the chime bars I, cr any combination of chime The number of chime bars i, of course, corresponds in number to the white and black keys ii and i, and which are arranged, as heretofore stated, in a musical scale.

A second set of chime bars tuned to the identical pitch tones as chime bars l, is provided. However', in this instance, each of the bars 3 is tuned to provide a minor third tone,

or an octave below such a minor third tone with lbeing the same as before, but with which there is a minor third partiai.

[is hereinabove explained, the choice ci playing either the major tonality tone generator or the minor tonality tone generator depends upon the particular key in which the melody is played.

The musical score can appropriately indicate whether the keyboard or the keyboard Iii, is to be used for striking a note.

Thus, the notes may be designated by triangles; and, ii" the triangle points upwardly, the keyboard i is to be used for striking that note; or. if the triangle points downwardly, the keyboard IQ is to be used for striking the note.

The concurrent striking of more than one bar will not result in any discordant effects when attention is paid to the choice of the tone generators. Thus. in the key of C, the bars having the pitch tones C, F, and G will usually be struck in the series of bars I, and all of the other notes on the white scale will be struck on the lower keyboard IG.

The form shown in Fig. 1 is adapted to be 0perated by the hands of a player. Often, in electrically operated musical instruments of this character, additional pedal keyboard is provided, the foot being used for depressing the keys corresponding to a bass register. Such an arrangement is shown in Fig. 2. The pedal keyboard has a range often overlapping the lower portion of the manual keyboard.

In this oase, a set of chime bars I2 are provided With their strikers I3 for providing major third concordance in each of the bars. These chime bars are, of course, arranged in ascending scale order. The set of chime bars I4 produces, respectively, the same pitch tones as those in the series of chime bars I2; but in this instance, these chime bars I4 are arranged to produce a minor third concordance with respect to the pitch tone. Electrically operated strikers I5 are provided for the series of bars I 4.

A common pedal keyboard I 6 is provided for both sets I2 and Ill.

Each of the pedals of the keyboard I6 is adapted to voperate a series of circuit controllers,

such as I7 and I3. However, only one circuit controller is effective to cause the striking of a bar corresponding to the pitch tone on the scale. By the aid of a foot-operated switch device I9, either one of the two sets of strikers I3 or I5 is energized by the transformer 2U. This switch is operated by the foot of the player when he wishes to change from one set of chime bars to the other.

Thus, when the foot switch is arranged so that it assumes the dotted line position, the strikers I3 can be controlled by the pedal keyboard I5. On the other hand, when the foot switch I9 is in its other alternate position, then the strikers I5 may be energized by the aid of the pedal keyboard. This foot switch may be of the type in which successive operations by the foot cause alternate conditioning of the strikers I3 and I 5.

Accordingly, when a melody is to be played, the musician has a choice of striking the appropriate chime bar either in the series of bars :any `of a number of keys. keys (C major, C minor, D flat major, and C I2 or .in theseries oi `bars ll, and this choice is predetermined by the key in which-the music is played.

In Fig. 3, a Wiring diagram Vis indicated for conditioning the keyboard for playing music `in Although only four sharp minor) are provided for, obviously this system could be extended to cover the entire range lof keys.

Furthermore, although'bars suflicient to provide thirteen pitch tones are indicated, this number also may be readily extended.

There are two series Aof tone generator coils. designated by reference characters 2| and 22. The series of coils 2| are intended to cooperate with bars that produce major thirds, and the series of coils 22 are intended to cooperate with other bars that produce minor thirds, as hereinabove explained.

The circuits for each of the coils 12| vand V22 are eected by va series of keyboard contact devices 23. When operating any of the keyboard contacts 23, a pitch tone is produced either by the aid of one of the coils 2|, or by one of the coils 22. This choice determines whether the pitch tone will carry a major or a minor third tone, or an equivalent thereto.

The arrangement is such that the player can preset the mechanism correctly to condition either ofthe series of coils 2| and 22 that would correspond to the key in which the music is to be played.

Thus, there is a plurality of insulation bars 24, 25, 26,'and 21. Bar 24 carries Va series oi spaced contact pins 28. Bar 25 carries a series of spaced contact pins 23. Bar 25 carries a series of spaced contact pins 30, and bar 21 carries a series of spaced contact pins 3| Each of these bars is'movable in a longitudinal direction, as by the aid of the solenoids 32, v33, 36, `and 35, corresponding to the'keys designated by legends appearing thereon.

Thus, when bar 24, for example, is moved to the left, all of the pins 28 respectively contact` 5 the buss bars 35 to 48', inclusive. Furthermore, the series of coils 2| and the series of coils 22 have connections to certain of the pins to control which of the coils in these two sets vare connected to the pins of these bars. Thus, for the `scale lof C major, the solenoid 32 is energized, causing that coil of series '2| which corresponds tothe note C to be connected tobuss bar 35. 'That coilvof series 22 which corresponds to the note D isfconnected to buss bar 38, and so on. In this Way, the proper third tone is provided for the playing ofmusic in the scale of C major; that is, the pitch tone bars C, D sharpgl, `and G that are Icontrolled by coils 2| are connected to the buss bars; Vand all the other pitch tone bars corresponding to the other notes of the key of C, and

controlled by coils 22, are connected to other buss bars.

The black notes which do not belong to the key of C are also connected to one or the other tone generator in a, predetermined manner. The

choice for each black note depends on ythe most likely harmony requirements of such note when used as an accidental. The circuit shown adapts these notes to most of the accidentals used rin popular hymns.

Correspondingly, if solenoid 33 is. energized, the pins 29 connect certain of the coils 2 i and 22 to correspond with the requirements of the key of C minor. Solenoids 34 and 35 are similarly ar- 'sharp minor.

When one of the solenoids 32 to 35 is energized, then, by depressing one of the keyboard contacts, the appropriate tone generator is caused to operate. Thus, when the key 23, corresponding to the tone C, is struck, the circuit for coil C1 or Cz is completed, depending upon which of the solenoids 32 to 35 is energized. If solenoid 32 is energized, for example, the circuit for coil C1 in series 2| is energized in the following manner: from supply main 50, connection 5|, common connection 52, coil C1, connection 53, a pin 28, bar 35, contacts 54, and connection 55, to the other main 56. A similar circuit can be traced for each of the keys on. the keyboard contacts 23.

A selection of one of the solenoids 32 to 35 is effected by scale tap contacts 51, 58, etc. Thus, when ymovable contact member 59 is depressed, and when contact arm G0 is moved to the right to contact the corresponding contact member 6|, the solenoid 32 is energized through the following circuit: main 5U, connection 5|, arm 59, contact 51, connection |52, solenoid 32, connection 53, contact 8|, arm 60, back contacts 64 oi a holding relay 65 (the purpose of which will be hereinaiter described), arm 66, and connection 61, to the main 55.

Similarly, the contacts 58 can ce operated to energize the solenoid 34, corresponding to an other major key.

By moving the arm 60 to the left to contact contact member 68, solenoid 33 is energized by the aid of the contact 5i), corresponding to va minor scale.

At times, a musician may desire to change the key in which he is'playing. This can be effected Yby depressing the appropriate key scale tap contact, corresponding to the new key, While the previous note is being played. Inorder to Vaccomplish this, the holding relay 65 is utilized. This holding relay is energized Whenever any of the keyboard contacts 23 is depressed. Thus, for example, assuming that the keyboard contact corresponding to the note D is depressed, the relay is energized through a circuit as follows: main 59, relay 55, connection 82, a contact 63, and connection 55, to the main 55. Contacts similar to contact 69 are arranged for each of the keyboard contact mechanisms 23. In this Way, the holding relay 55 is energized Whenever any one of the keyboard contacts is depressed.v

Energization oi the reiay 35 causes the front contacts 10 and 1| to engage. However', the back contact 64 stays in engagement with arm B6 until after the front contact 13 is established. Accordingly, until the relay 55 is energized, that solenoid of the series 32 to 35 which is energized remains energized until the relay 55 completes its function.

The front contact 1| connects the main 50 to the buss bar 12, and is in the path of the pins 13, 14, 15,. and 15 on the bars 24 to 21, inclusive.

i The front contact connects the buss bar 11 scale tap contact is completed, then, upon release of the keyboard contact, that bar 2li to 27, inelusive, corresponding to the preselected scale tap contact, is pulled to condition the apparatus to playing the next note on another scale.

The above described' keyboard condition switching system provides means for playing simple melodies on in-scale harmonics from a single keyboard, but it does not have the ilexibility or harmonic possibilities which the hereinbefore described two keyboard arrangement provides. The two keyboard arrangement permits of harmonies in any key at will and permits the use of notes in which `the partials are out of harmony with the scale when the musician feels these are desirable for special harmony effects. Its harmony capabilities are limited only by the ability of the performer.

The terms corresponding to a major third interval andl corresponding to a minor thirdinterval, as used in the claims, refer not only to the third interval tones, but also to tones one octave below such tones, all as hereinabove described.

The inventor claims:

l. In a chime musical instrument: a series of chime members arranged in scale order, each member being structurally pretuned to include a pitch tone and another tone corresponding to ya major third interval with respect to the pitch tone; a second series of chime members corresponding to the same scale order, each of said members in the second series being structurally pretuned to include a pitch tone and another tone corresponding `to a minor third interval with respect to the pitch tone; and means for optionally sounding any member in either series.

2. In a chime musical instrument: a series or" chime members arranged in scale order, each member being structurally pretuned to include a vpitch tone and another tone corresponding to a `major ythird interval with respect to the pitch tone; a second series of chime members corresponding to the same scale order, each of said members in the second series being structurally f pretuned to include a pitch tone and another tone corresponding to a minor third interval with respect to the pitch tone; electrically energized strikers respectively for members; and circuit control means for optionally operating any of the strikers.

3. In a chime musical instrument: a series of chime members arranged in scale order, each member being structurally pretuned to include a pitch tone and another tone corresponding to a major third interval with respect to the` pitch l tone; a second series of chime members correstrikers respectively for the members; a series of circuit controllers corresponding to the series of notes; and means for optionally connecting v the strikers of each series to the circuit controllers.

4. In a chime musical instrument: a series of chime members arranged in scale order, each member being structurally pretuned to include `a pitch tone and another tone corresponding to a major third interval with respect to the pitch tone; a second series of chime members corresponding to the same scale order, each of said members in the second series being structurally pretuned to include apitch tone and another tone respect to the pitch tone; electrically. energized strikers respectively for the members; a plurality of circuit controllers respectively for selectively grouping the strikers to correspond to a definite scale; means for rendering any one of the circuit controllers eiective; and means for energizing any one of the selec-ted group of strikers.

5. In a chime musical instrument: a series of chime members arranged in scale order, each member being structurally pretuned to include a pitch tone and another tone corresponding to a major third interval with respect Ato the pitch tone; a second series of chimeA members corresponding to the same scale order, each of said members in the second series being structurally pretuned to include a pitch tone and another tone corresponding to a minor third interval with respect to the pitch tone; electrically energized strikers respectively for the members; a plurality of circuit controllers respectively for selectively grouping the strikers to correspond to a definite scale; means for rendering any one of the circuit controllers eifective; means for energizing any one of the selected group of strikers; and means responsive to the energization of any striker for maintaining the selected circuit controller active during energization of said striker.

6. In a `chime musical instrument: a series of chime members arranged in scale order, each member being structurally pretuned to include a respect to the pitch tone; electrically energized strikers respectively for the members; a plurality of circuit controllers respectively for selectively grouping the strikers to correspond to a denite scale; means for rendering any one of the circuit controllers effective; means for energizing any one of the selected group of strikers; and a relay energized in response to the energization of any striker for maintaining the selected circuitcontroller active independently of the said means.

7. In a chime musical instrument: a series of chime members arranged in scale order, each member being structurally pretuned to include a pitch tone and another tone corresponding to a major third interval with respect to the pitch tone; a second series of chime members corre- .corresponding to a minor third interval with respect to the pitch tone; electrically energized strikers respectively for the members; a plurality of circuit controllers respectively for selectively grouping the strikers to correspond to a definite scale; means for rendering any one of the circuit controllers eiective; means for energizing any one of the selected group of strikers; and a relay energized in response to the energization of' any striker for maintaining the selected circuit controller active independently of the said means; said relay lhaving front contacts for energizing said selected -circuit controller, as Well as back contacts that serve to render said means ineiective.

8. In a chime musical instrument: a series of chime members arranged in scale order, each member being structurally pretuned to include a pitch tone and another tone corresponding to a major third interval with respect to the pitch tone; a second series of chime members correspending to the same scale order, each of said members in the second series being structurally pretuned to include a pitch tone and another tone corresponding to a minor third interval with respect to the pitch tone; electrically energized strikers respectively for the members; a plurality of circuit controllers respectively for selectively grouping `the strikers to correspond to a denite scale; means for rendering any one of the circuit controllers effective; means for energizing any one of the selected group of strikers; and means 15 2,555,040

REFERENCES CITED The following references are of record in the file of this patent:

UNTED STATES PATENTS Number Name Date 1,034,001 Duree July 30, 1912 1,301,916 Deagan Apr. 29, 1919 1,838,502 Schluter Dec. 29, 1931 Jordan May 29, 1951 

